On and off over the last few years, I have been playing with Duwayne Burnside, the extraordinary blues guitarist and son of Hill Country blues great R. L. Burnside. Our rehearsals recently have been in Holly Springs, but up until last weekend, I never noticed the work of folk art on what appears to be a garage behind a house at West Valley Avenue and Boundary Street. “The Color of My Skin Is Not A Weapon,” says one sign, while the other proclaims “White Silence=White Consent.” Both are surrounded by African masks.
Down Boundary Street to the south toward Highway 7, I noticed another building for the first time, a large two-story building with a chimney at both ends which looked quite historic, but which for some reason I had never noticed before. It looked to be quite old, but I had no idea exactly how old it actually is. The building, once the University of Holly Springs, was built in 1837! It later housed a boys’ school called the Chalmers Institute. Although it looks abandoned, it is apparently in the process of being restored, and will supposedly become a venue for music concerts, weddings and receptions.
Memphis has lots of pizza restaurants, but a hip-hop-themed pizza restaurant is a whole different thing altogether. Slim & Husky’s Pizza Beeria, a Memphis branch of a Nashville-based chain, was eagerly anticipated locally, and is located in a historic business across from the former home of the Commercial-Appeal newspaper on Union Avenue just east of downtown. The concept was founded by three friends and former football players from Tennessee State University who wanted to provide jobs, food and community to the North Nashville neighborhood where the first location was started. With locations now in Antioch, Tennessee, Sacramento, Atlanta and Memphis, Slim & Husky’s seems well on its way to becoming an institution.
The basic food concept on which Slim & Husky’s is based will be familiar to many; an individual-sized pizza concept in which customers can choose from a vast array of toppings at no extra cost. The basic idea entered the Memphis market much earlier in the form of Pyro’s Fire Fresh Pizza, but Slim & Husky’s is at once quite different; the pizzas are rectangular rather than round, and there are two different sizes, the “slim” and the slightly larger “husky.” I was also impressed with the high quality of the ingredients. There is an array of pre-planned pizza varieties, including the unique PREAM, which stands for Pizza Rules Everything Around Me; when one of these is ordered, a bell is rung and the staff chants the slogan. Customers can also plan their own pizzas from a vast array of sauces and toppings.
The other thing that really sets Slim & Husky’s apart is its embrace of hip-hop culture. The walls include paintings of such Memphis rap legends as Eightball and MJG and Playa Fly. These artists had signed their pictures on the restaurant’s opening day. The soundtrack overhead is also hip-hop; a warning on the door indicates that explicit lyrics are possible, but I have yet to hear any when I have visited. The music gives the brightly-painted restaurant a bouncy, upbeat vibe.
Finally, no dinner would be complete without dessert, and The Rollout is Slim & Husky’s dessert department, offering an astonishing array of five different cinnamon rolls. On my first visit, I tried one of the basic OG S & H House Rolls, which are basically warm, gooey, moist cinnamon rolls, and one of the Cookie Monsta rolls, which feature white chocolate sauce, Oreo cookies and peanut butter crumbles. I came away pleasantly full and imbued with a sense of fun and community.
Memphis is known for great barbecue, but strangely, barbecue is rarer in Mississippi, so when a new place appeared in the town of Coldwater, in Tate County, advertising itself as “blues and barbecue,” my interest was piqued, to say the least.
Coldwater is an interesting town in its own right, having been founded by the Federal government in 1942, to replace an older town of Coldwater that was flooded by the construction of Arkabutla Dam and Lake. The old town had been something of a prosaic railroad town with a traditional grid pattern of streets, but the new town was designed by an urban planner in Memphis, with curved streets typical of subdivisions. Highway 51 was four-laned and given service roads on either side, and a long, rectangular square was developed instead of the traditional four-square parks that older Southern towns were built around. Many of the old town’s houses and businesses were disassembled and trucked to the new site prior to the lake bed being filled.
But Coldwater has not been a place for eating out, or for live music, as a rule. Part of the problem was that until a few years ago, Tate County did not permit any alcohol sales, which pushed restaurants, clubs and live music to the neighboring county of Panola, where Como developed a sort of rural equivalent of Beale Street along its Main Street. So I was curious to check out this new restaurant and see what it was about.
Red’s Coldwater BBQ and Blues, despite the name, has no connection to the famous Red’s Juke Joint in Clarksdale. The latter is primarily a blues venue, the former a restaurant. But the decor of the new Coldwater restaurant does emphasize blues and music, with a piano, saxophone and other instruments on the walls, and cheerful bright colors and lights everywhere. The back room has a fairly small stage, which is used for bands on nights when the place has live music. Despite the name, the emphasis currently seems more on country music than blues, but Red’s features a weekly jam session on Thursdays, and karaoke on Fridays. The large, circular kitchen out back resembles a grain silo, and behind it is an old, historic smokehouse that was full of smoking meat when it was shown to me. It smelled delicious. There is apparently ample room for outdoor music events in warmer weather.
As for the food—delicious, but some words of caution are in order, as things are done a little differently at Red’s. The menu is quite simple, as there are basically two choices: three meats and two sides for $15, or one sandwich and one side for $10. Ordering is done buffet style; the meat choices are pork shoulder, brisket and pulled chicken, and the sides include potato hash (which has onions and peppers) and homemade macaroni and cheese. Drinks are from cold cans. It’s hard to get decent brisket outside of Texas, but Red’s has decent brisket, and in fact all the meats were really good. As for the sides, I was especially impressed with the macaroni and cheese, which had a dark golden color and sharp cheese flavor.
The owner indicates that he intends to add blues to the live entertainment mix in coming weeks, so I look forward to that. Live music opportunities are seriously lacking in Tate and Panola Counties.
Halloween this year fell on a Saturday, and early in the afternoon, I drove over to Backermann’s Country Market in Whiteville, Tennessee, an Amish bakery known for its fried pies and other desserts. I had hoped to buy a chocolate peanut butter pie to take back home, but to my disappointment, I found that they do not stock them, and only bake them when ordered. I ended up not buying anything, and upon my return to Somerville in Fayette County, discovered that the new coffee bar I heard about there had closed at 3 PM. So I decided to head down to Moscow and into Mississippi on my way to Como.
With my car having been in the shop for two months, this was my first opportunity to visit Como in some time, and I had heard that Micol Davis of the band Blue Mother Tupelo had opened a coffee bar there called Como Coffee Stop. As it turned out, the new coffee shop is in the former Delta Recording Service building next to the post office, which has more recently been an ice cream parlor, an arts and crafts store, and a drum lesson studio (at least in the back room). The Coffee Stop is a business born of necessity, as the COVID pandemic has canceled almost all of Blue Mother Tupelo’s shows; for now, it does not have an espresso machine, but serves brewed Community Coffee and baked goods. I enjoyed visiting with Micol, and had planned on walking down to Windy City Grille for a dinner, but my friend Sherena Boyce (R. L.’s daughter) called me and wanted to go to Tribecca Allie Cafe in Sardis.
So I drove back to Senatobia to pick her up, and we rode down to Sardis to Tribecca, which has been proclaimed some of the best pizza in the United States. After a period of time when they were closed to inside dining and allowing to-go orders only, they are now back to allowing at least limited dine-in service. The pizzas at Tribecca are unique because they are cooked over a wood fire, which imparts a special flavor to them. After dinner, we were invited by our waitress to attend the Panola Playhouse’s performance of Little Shop of Horrors next door, but Sherena did not particularly want to go, and I was tired. It was late enough that trick or treating was largely over, and so we both went home.
The gangs of Black Indians (sometimes called Mardi Gras Indians) who appear in elaborate costumes on the streets of New Orleans on Mardi Gras, St. Joseph’s Night and the uptown and downtown Super Sundays are one of America’s most unusual and interesting cultural phenomenons. Although the term “Indian” would suggest a Native American frame of reference, the beautifully-decorated outfits have far more in common with African or Caribbean practices, as do the chants and percussion music used to accompany the gangs as they proceed down backstreets. Nobody is quite certain even how the tradition began; some accounts attribute it to a visit of Buffalo Bill’s Wild West Show to New Orleans in the 1880s. Certainly the first references to Black Indian gangs appear in the 1890s. But this theory fails to account for the similarity to Trinidadian practices, such as the Fancy Indian Mas (masque) and the stickfighting of the Canboulay (Cannes Brulee). Indeed early accounts of the Indians in New Orleans emphasized their penchant for violence. Confrontation between the gangs or tribes was not merely ritualized and danced as it is today, but was frequently bloody, and deaths were not unheard of, as in the Indian song “Corey Died on the Battlefield.” The use of drummed accompaniment certainly resembles the stickfighters’ practice in Trinidad, but the concept of chantwells, or singers who praised the various fighters does not seem to have made the journey to New Orleans. Instead, it is the gangs themselves and their Big Chiefs who praise their own bravery and their refusal to “bow down.” Whether New Orleans came by this tradition from Trinidad, or whether Trinidad came by it from New Orleans, or whether both spring from an African progenitor must remain conjecture at best.
Indian gangs exist in all working class Black neighborhoods of New Orleans, downtown, uptown, the Ninth Ward and the West Bank. However, it would seem that uptown has the largest numbers of gangs, and the corner of Second and Dryades in the Third Ward is a sort of ground zero for the Indian culture. On that corner is the Sportsman’s Lounge, headquarters for the Wild Magnolias, the first Black Indian group to make a record, and in the same block of Dryades is a place called Handa Wanda’s, where Indian practices are held in the months leading up to Mardi Gras. For anyone looking for Black Indians on Mardi Gras Day, this street corner is a good place to start.
But getting there from the St. Charles Avenue area poses a bit of a logistical nightmare on Mardi Gras Day. Parades result in road closures all over the city, and the only sure way to get through is on the interstates and freeways, and even they can become gridlocked as people try to go from parades uptown to things like Juvenile concerts downtown under the I-10 bridge. But I was fortunate enough to be able to get on the Pontchartrain Expressway with little problem, and by exiting on South Claiborne, work my way toward the area of uptown where I expected to find the gangs.
I wasn’t expecting to run into them as soon as I did however; Heading down First Street (as Second is one-way heading north) I ran into a traffic jam at Simon Bolivar, and I soon figured out why. Tribes of beautifully-dressed Indians were in the street with their drummers, and crowds had gathered. The gangs do not get the police escorts of the official parades, nor do they need them. They effectively block the streets on their own as they proceed, with drummers behind them, and crowds behind the drummers. The typical gang is accompanied by one or two bass drums, generally played in a horizontal position like snares, along with tenor drums, a cowbell, and occasionally a snare drum. Most tribes use a remarkably similar drum groove, which is sometimes called the “Indian beat.” This year, however, one of the gangs, the Black Hawk Hunters, had a brass-band-style snare and bass drummer. The effect was unusual, but the young men playing the drums were incredibly gifted. “I’m a fool on that snare drum,” the snare drummer said at a break in the action, and he could back it up with his sticks.
Finding a place to park along Simon Bolivar, I soon got behind one of the gangs, and followed them down into the Third Ward. Endlessly, different tribes appeared, signified by different brilliant color schemes coming down the street; one of these, the Comanche Hunters, had come all the way from the Lower Ninth Ward to uptown for the holiday. Eventually the center of attention shifted from Simon Bolivar to the Second and Dryades area around the Sportsman’s Lounge and Handa Wanda, which had opened for the occasion, selling food and beverage and restroom access, the latter of which was free for those who had purchased food or drink. In that area, I ran into the Golden Eagles, led by Big Chief Lawrence Boudreaux, undoubtedly a relative of the late Monk Boudreaux. The Golden Eagles had also made recordings, and this was the gang for which Joe Maize and Edward Jackson of the TBC Brass Band were playing drums.
When gangs approach each other, there is a ritual protocol by which they confront each other. Gangs send out ahead of themselves men called “spy boys” whose job is to report to the chief when they see another gang approaching. In the old days, the approaching confrontation could mean war, but nowadays, the chiefs will brag and boast at each other, and then they will dance-battle. Dance, boast and beautiful suits are today the way that Indians win or lose in battle. “I run through water and swim through mud,” bragged one big chief as he was confronting another on Dryades. Another said, “You’re beautiful, that I can’t deny, but everybody behind you gonna die.” In the old days, that might not have been an idle threat; today it is just part of the tradition. All the same, there are a lot of Black New Orleanians who do not like the Indians; some recall hearing of violent confrontations and deaths, or even witnessing them. Even today, they are not to be taken lightly; if they tell you to get out of the way, you should. This year, a big chief explained to a tourist “We don’t want you to get hit accidentally as we go into the hole,” the “hole” being a clearing amongst the crowd of onlookers.
I could have stayed out there all day until evening, and most years I would have. But my friends in the TBC Brass Band had a show at a house remarkably close to where I had parked on Simon Bolivar, and as the time approached for their show, I began to walk back up to the location. I was thoroughly tired, but in a pleasant sort of way.
With my birthday falling on Monday December 2, I decided to celebrate a day early by going to New Orleans for the Dumaine Street Gang second-line, since I knew that the To Be Continued Brass Band would be playing in it.
The TBC Brass Band, as it is usually called, is one of the bands that first attracted me to New Orleans’ street brass band culture, and is the band that most typifies the modern brass band sound and style. Although the band has a youthful, defiant hip-hop swagger, its music is firmly rooted in both the brass band tradition and the standard soul tunes of the Black community.
Waking up at 8 AM in Jackson, Mississippi, I had to stop for breakfast, which I did at Cultivation Food Hall, where I had chicken and waffles at a place called Fete au Fete, which I didn’t realize was a branch of a New Orleans restaurant chain. However the food was great, and with a cup of coffee from Il Lupo Coffee I got back on the road headed for New Orleans. Unfortunately, the parade was set to begin in the Treme neighborhood at noon, and I only made it across the causeway at 11:45, and by the time I made it to Treme and found a place to park (under the I-10 overpass on Claiborne), the parade was already underway. However the weather was a pleasant 70 degrees, and the sun was out, and as a result, crowds were everywhere. The club members and bands were just coming out of the Treme Community Center when I arrived, and although I would have liked to have grabbed a coffee at the Treme Coffeehouse before following the bands into the parade, I decided it was better not to be left behind.
As it turned out, TBC had not yet come out of the community center, and they were marching behind the Divine Ladies, a social aid and pleasure club that apparently parades with the Dumaine Street Gang every year. This year’s parade actually featured no less than five bands, and as we headed out Orleans Avenue, with the sun beaming, I felt the wave of exhilaration that I always feel when starting out on a second-line. At first there were fewer onlookers along the sidewalks, but eventually the crowds picked up, including those on horseback that always seem to appear at any downtown second-line. One difference with this particular second-line was that there were almost no route stops at all, and the bands and marchers had little time to rest. One exception was a brief stop along Broad Street, where a group of Mardi Gras Indians began setting up a chant “They got to sew, sew, sew” with tambourines, which Brenard “Bunny” Adams, the tuba player for TBC, ended up picking up, and soon the whole band was playing their brass band version of it. Not long afterward, the Divine Ladies instructed their members to move forward, and we were soon on the march again.
Walking down Esplanade, I noticed the ruins of Le Palm Ballroom, at which once I had seen TBC play at a funeral. Now the roof had caved in, and the building seemed destined for demolition. Heading up Claiborne Avenue, past Kermit’s Mother-in-Law Lounge, we came to St. Bernard Avenue and headed up it past Celebration Hall and the Autocrat Club, where a lot of motorcycle clubs had posted up with their bikes. The parade went as far as the Dollar General and T-Mobile stores, and then u-turned to head back down toward Treme, with TBC breaking into a joyful and upbeat song that I had heard them play before but which I didn’t know the name of.
However, I was filming video footage with my iPhone 7, and it soon ran out of battery life, so when the second-line started down the final push along Claiborne, I fell out of the line and went to my car, in order to begin charging the phone. I had thought that I could grab a coffee at Treme Coffeehouse, and meet up with Darren Towns, the bass drummer for TBC, but I was frustrated on both counts. About 5000 or so people were at the second-line, and the resulting gridlock and chaos made getting anywhere impossible. The police had the whole area around the community center and coffeehouse blocked off, and not only could I not get into the area, but Darren could not get out. The end result was that he could not go with me for my birthday dinner in New Orleans.
Instead, I headed across the river to Gretna to the Liberty Kitchen Steak and Chop House, which was one of the few steakhouses open in New Orleans on a Sunday afternoon. Darren and I had eaten at one of their sister restaurants in Metairie a few years ago; that location had closed, but we had been impressed with the food. I was impressed again on this particular evening; my filet mignon was delicious, as were the sides. The food was not cheap, but I have had inferior meals at higher prices, and the easy access and free parking were an added benefit.
After dinner, I wanted dessert, so I headed over to Freret Street to a place called Piccola Gelateria, where I had a peanut butter and fudge gelato in a cup, and by then, it was time to head back over to Kermit’s Mother-in-Law Lounge, where the TBC Brass Band was playing their weekly Sunday night gig.
The Mother-in-Law Lounge was founded by the late Ernie “K-Doe” Kador, who named the place for his biggest recorded hit ever, “Mother in Law.” After he passed away, his widow had kept it open until she also passed away. Kermit Ruffins, the world-famous trumpet player who is also well-regarded as a chef, had closed his jazz lounge in the Treme neighborhood, but when the Mother-In-Law Lounge closed, he acquired it, restored it and soon had it back open. There was already a significant crowd in and around the lounge when I got there, despite the fact that the live music had not yet started. Somewhat incongruously, the center of attraction was at first a DJ playing New Orleans rap and bounce. But it was the older, classic stuff and contributed to the feel-good vibe of the place, which was painted in vibrant colors and with numerous slogans and quotes from the late K-Doe.
Although I feared that the weather would turn colder, at least when I arrived, it was still fairly warm and pleasant out on the patio where the stage was located. The TBC members had largely stayed in the area, as they could not get out of the massive traffic jam that had accompanied the end of the second-line, and they soon began trickling into the club and setting things up on the patio. There was a large television screen outside with the Sunday night NFL game on, but most of the attention was focused on the stage once the To Be Continued Brass Band started playing. Ruffins’ love of marijuana is no secret, and when the TBC band played a new song about “getting so high,” Kermit suddenly appeared on the roof and shot off fireworks, to the thrill of the patio crowd. The band also broke out with a new song, “I Heard Ya Been Talking,” which is aimed at the Big 6 Brass Band, a newer band that has allegedly been talking smack against TBC. Such rivalries, which resemble rap group rivalries, are a usual thing in the New Orleans brass band culture.
As the night progressed, things got chillier on the patio, and TBC broke out with some smoother sounds, a pleasant reading of the Temptations’ “Just My Imagination” and Smokey Robinson’s “Quiet Storm.” Then they closed out, all too soon, with a funky version of “We Wish You A Merry Christmas” that seemed to owe something to the Jackson 5’s “The Love You Save.” It was a great way to end the evening.
But by now, it was fairly chilly indeed, and fog was developing. I met Darren Towns in Marrero, and we headed back over to the French Quarter in New Orleans to the Cafe du Monde for cafe au lait and beignets. In previous years, my move would have been to the Morning Call at the Casino in City Park, but the City of New Orleans had evicted Morning Call in favor of the Cafe du Monde, but the latter had decided to not be open 24 hours a day in City Park, and the location had already closed for the night. Fortunately, we were able to find a free parking place along Decatur Street, and we sat at the table enjoying our beignets and coffee. Bunny had called Darren from Frenchmen Street, but he didn’t come through where we were, and so when we left, we drove down Frenchmen Street to see if anything was going on, but there really wasn’t much of anything, and the fog and chill were in the air. Ultimately, we headed back across the bridge to Marrero. But it had been a great day to celebrate my birthday with my favorite brass band in New Orleans.
Monroe once had a downtown coffee bar, but the unexpected demise of RoeLa and the relocation of its successor, Bayou Brew House, means that for someone seeking an after-lunch coffee, there aren’t many options. An exception is Butter A Louisiana Bakery, in the lobby of the historic Vantage Tower. While you have to check in with the building’s front desk to explain that you are headed to Butter, because the building is basically an office tower, the bakery is worth the effort. Cookies, brownies, cakes are all there, as well as quiches and light lunch options. And, because the owner’s husband has celiac disease, all of the options are gluten-free. I chose something called a double doozie, a sandwich of two freshly-baked chocolate chip cookies with cream cheese icing and chocolate chips in between them. It was shockingly rich, and quite delicious, and a cup of coffee went well with it. The surroundings, lovingly restored by the Vantage Health Plan organization, are redolent of the Roaring 1920s, complete with marble floors.
Nearby, a short two-block walk away, is something called Art Alley, a two-block stretch of local galleries along a dead-end of North Second Street created when the city took out the rail crossing on that street. A beautiful painted pelican caught my attention, and of course the walls of buildings nearby were full of colorful murals. One of them read “Life is Messy,” which is certainly a true statement. Unfortunately, none of the galleries were open on a Friday afternoon, but I will have to make a journey to Monroe for one of the Art Crawls, which happen periodically during the year.
After a breakfast at the Brunswick Kitchen at Brunswick near Lakeland, I decided to spend the afternoon putting up flyers for the R. L. Boyce Picnic and Blues Celebration, which is being held on September 1 during the Labor Day weekend. Coffee bars make a great place to promote events, as they typically have large community bulletin boards, or plenty of window space, so I made my way around to several Memphis area coffee bars on what was a very hot day indeed.
At Cafe Eclectic, one of Memphis’ oldest coffee bars, I was intrigued by what appeared to be a beer tap with the Illy logo on it. As Illy doesn’t make beer, I was curious, and had to ask the barista what it was. She explained that it was nitro, or nitrogenated coffee, and to my inquiries of what it was like, she responded by giving me a cold free glass of it. Without any added sugar or cream, it was absolutely delicious, mild and rich, the perfect option for such a hot day.
Downtown in the Pinch district, I came upon the new Comeback Coffee on North Main Street near Westy’s. This is Memphis’ most recent coffee bar, and an amazing and cool oasis in the city, with excellent coffee, wi-fi, comfortable seating, and an awesome multi-story outdoor courtyard.
At breakfast, I had downloaded a new iPhone photo app called Hydra, and so I spent the afternoon experimenting with it. It basically takes multiple photos and then merges them to create amazing detail and clarity with your phone. Of course it has limitations, because that method of improving photo clarity does not work with moving objects like people, pets or vehicles. But for buildings, such as old churches and other historic structures, it works very well indeed. In the South Memphis area along Florida street, I came across an old warehouse that bore an inscription for Mr. Bowers’ Stores, an old Memphis grocery chain. A painted logo for one of the locations still exists on Jackson Avenue near Breedlove. Further down Florida was an interesting new lounge called D’s Lounge, with an attractive guitar logo painted above the door. Great blues and southern soul recordings were playing inside, and I would have liked to check with them and see if they ever book live bands. But a rather draconian sign on the door read “Members Only” so I thought better of trying to go in, and continued on my way down to Mississippi, as the blues picnic portion of the annual Hill Country Boucherie was starting at 7 PM in Como.
While driving from our hotel room in Yazoo City toward the Bentonia Blues Festival, we came into downtown Yazoo City on Main Street, looking for ice cream, as it was such a hot day. We didn’t find any frozen desserts, but we did find that the historic downtown buildings had been painted in an array of tropical colors. The scene almost resembled a Caribbean shopping district, such as Aruba or Curacao. Like other Mississippi cities, Yazoo City has had a hard time redeveloping its downtown, but there is starting to be some progress. We saw an antique mall, a restaurant and a small hotel. For my part, I was surprised by the massive size of Yazoo City’s downtown area. Although the city is only 40 miles from Jackson, it must have been a place of major importance at one time. We ended up having to backtrack to Sonic out on the bypass for ice cream, but I was glad we had stumbled onto the beautiful buildings downtown.
At one time, as far as music festivals went, Clarksdale, Mississippi had one, the Sunflower River Blues and Gospel Festival in August. Later, after former advertising executive Roger Stolle came to town, a second one, the venerable Juke Joint Festival took root, becoming the city’s largest festival, attracting people from all over the world. But now, Clarksdale’s burgeoning tourism business is driven by a succession of festivals, stretching nearly all year long. Music, film, art….all are celebrated in different events. The Clarksdale Caravan Music Festival is one of these newer events, held in May, with performances at Cat Head Delta Blues and at the New Roxy.
Like the better-known events, the Clarksdale Caravan is primarily about blues, although it is in a much more intimate setting, with only two stages, and therefore a lot more interaction between the artists and performers. On this year’s festival, there had been a considerable amount of rain up in Memphis, and I feared that could disrupt the event, as the Cat Head stage was outside, but in Clarksdale the sun was out, and shining.
My primary goal was to catch R. L. Boyce at the Cat Head stage, and I did. He was performing with Lightnin Malcolm and a violinist with whom I was not familiar. A small crowd had gathered under the tent in front of the store, and due to the threat of rain, I decided to do my photographic work with my iPhone instead of my Nikon. Indeed it did start raining briefly, and I eventually took refuge in the Meraki Coffee Roasters shop a block down the street.
In the afternoon, Lightnin Malcolm was scheduled to perform on the stage at New Roxy, a former theatre in the New World district of Clarksdale, but I arrived early, and nothing was happening yet, so I spent some time walking around the area shooting pictures of the buildings, many of which are sadly beginning to collapse. Local artists have attempted to brighten the ruins of what remains, with painted images and slogans, such as “I am of this city and this city is of me,” but the loss of such history is not easy to bear. The New Roxy is a better story, however, as it has survived, despite the loss of its roof, to become a popular music venue in Clarksdale.
Perhaps because of the rain threat, Malcolm’s performance took place in the smaller, lounge portion of the New Roxy, within the former box office of the theatre, rather than the larger outdoor stage. He performed primarily with his drummer, but also did a couple of tunes with R. L. Boyce, with whom he had played earlier at Cat Head. The crowd was fairly small but enthusiastic. It was ultimately a great day of music, and the rain threatened but never actually disrupted anything.